program

Thursday, February 26, 2015 at 8:00 pmDr. Bobbie Bailey & Family Performance Center, Morgan HallSeventy-fifth Concert of the 2014-15 Concert Season

Philharmonic and Concert Band

JAMES CURNOW (b. 1943)Phantom Castle

Kathryn Encisco, student conductor

ARCANGELO CORELLI (1653-1713)Sarabande, Giga, and Badinerie

ASTOR PIAZZOLLA (1921-1992)Oblivion

Perry Morris, student conductorRyan Gregory, violin soloist

CAMILLE SAINT-SAËNS (1835-1921) / arr. Jamin HoffmanDanse Bacchanalefrom Samson and Delilah

Matthew Richards, student conductor

Kennesaw State University PhilharmonicCharles Laux, conductor

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RALPH VAUGHN WILLIAMS (1872-1958)Flourish for Wind Band (1939)

SAMUEL HAZO (b. 1966)Arabesque (2008)

RONALD LO PRESTI (b. 1933)Elegy for a Young American (1964)

FRANK TICHELI (b. 1958)Fortress (1988)

Kennesaw State University Concert BandDebra Traficante, conductor

Intermission

Phantom Castle | James Curnow

James Curnow was born in Port Huron, Michigan, and raised in Royal Oak, Michigan, where he received his initial musical training in the public schools and The Salvation Army Instrumental Programs in these cities. He lives in Nicholasville, Kentucky where he is president, composer, and educational consultant for Curnow Music Press, Inc. of Nicholasville, Kentucky, publishers of significant music for concert band and brass band. He also serves as Composer-in-residence (Emeritus) on the faculty of Asbury College in Wilmore, Kentucky, and is editor of all music publications for The Salvation Army in Atlanta, Georgia.

His formal training was received at Wayne State University, B.M. (Detroit, Michigan) and at Michigan State University, M.M (East Lansing, Michigan), where he was a euphonium student of Leonard Falcone and a conducting student of Dr. Harry Begian. His studies in composition and arranging were with F. Maxwell Wood, James Gibb, Jere Hutchinson, and Irwin Fischer.

James Curnow has taught in all areas of instrumental music, both in the public schools (five years), and on the college and university level (thirty years). He is a member of several professional organizations, including the American Bandmasters Association, College Band Directors National Association, National Band Association and the American Society of Composers, Authors and Publishers (ASCAP). In 1980 he received the National Band Association’s Citation of Excellence. In 1985, while a tenured Associate Professor at the University of Illinois, Champaign-Urbana, Mr. Curnow was honored as an outstanding faculty member. Among his most recent honors are inclusion in Who’s Who in America, Who’s Who in the South and Southwest, and Composer of the Year (1997) by the Kentucky Music Teachers Association and the National Music Teachers Association. He has received annual ASCAP standard awards since 1979.

http://www.curnowmusicpress.com/jamescurnow.htm

Sarabande, Giga, and Badinerie | Arcangelo Corelli

The Italian composer and violinist Arcangelo Corelli exercised a wide influence on his contemporaries and on the succeeding generation of composers. Born in Fusignano, Italy in 1653, a full generation before Bach or Handel, he studied in Bologna, a distinguished musical center, then established himself in Rome in the 1670s. By 1679 had entered the service of Queen Christina of Sweden, who had taken up residence in Rome in 1655, after her abdication the year before, and had established there an academy of literati that later became

program notes

the Arcadian Academy. Thanks to his musical achievements and growing international reputation he found no trouble in obtaining the support of a succession of influential patrons. History has remembered him with such titles as "Founder of Modern Violin Technique," the "World's First Great Violinist," and the "Father of the Concerto Grosso."

His contributions can be divided three ways; as violinist, composer and teacher. It was his skill on the new instrument known as the violin and his extensive and very popular concert tours throughout Europe which did most to give that instrument its prominent place in music. It is probably correct to say that Corelli's popularity as a violinist was as great in his time as was Paganini's during the 19th century. Yet Corelli was not a virtuoso in the contemporary sense, for a beautiful singing tone alone distinguished great violinists in that day, and Corelli's tone quality was the most remarkable in all Europe according to reports. In addition, Corelli was the first person to organize the basic elements of violin technique.

Corelli's popularity as a violinist was equaled by his acclaim as a composer. His music was performed and honored throughout all Europe; in fact, his was the most popular instrumental music. It is important to note in this regard that a visit of respect to the great Corelli was an important part of the Italian tour of the young Handel. Yet Corelli's compositional output was rather small. All of his creations are included in six opus numbers, most of them being devoted to serious and popular sonatas and trio sonatas. In the Sonatas Opus 5 is found the famous "La Folia" Variations for violin and accompaniment. One of Corelli's famous students, Geminiani, thought so much of the Opus 5 Sonatas that he arranged all the works in that group as Concerti Grossi. However, it is in his own Concerti Grossi, Opus 6 that Corelli reached his creative peak and climaxed all his musical contributions.

http://www.baroquemusic.org/bqxcorelli.html

Oblivion | Astor Piazzolla

Ástor Piazzolla, king of the Nuevo tango, was born in Mar del Plata, Argentina. He grew up in New York where he mastered the bandoneón and became acquainted with legendary tango singer-composer Carlos Gardel. Upon re-turning to Buenos Aires in 1937, he gave concerts and made tango arrange-ments for Aníbal Troilo, later forming Orquesta del 46 to showcase his own compositions. Piazzolla claimed to have studied with three great teachers: Alberto Ginastera, Nadia Boulanger, and the city of Buenos Aires. Boulanger may have persuaded Piazzolla to pursue his interest in the tango, but Buenos Aires taught him its secrets, which he discovered “in a cold room in a boarding house, in the cabarets in the 1940s, in the cafés with balconies and orches-tras, in the people of yesterday and today, in the sound of the streets.”

In the mid-1950s Piazzolla set about to revolutionize the tango, a move that initially met with resistance among traditionalists in Argentina. He formed his Octeto Buenos Aires in 1955 specifically to experiment with new rhythms, new harmonies, melodies, timbres, and forms, ultimately creating tango nuevo, which represented a fusion of traditional tango, classical music, and jazz. He soon found acceptance for tango nuevo outside Argentina, particularly in France and the United States, and by the 1980s even the Argentinians were hailing him as the saviour of the tango.

Piazzolla composed Oblivion in 1982 for Mario Bellocchio’s film Enrico IV (1984), adapted from a play by Luigi Piradello. The protagonist is an actor-historian who suffers a fall during an historical pageant. Upon regaining consciousness he assumes the identity of the character that he was playing, Henry IV, Holy Roman Emperor. Piazzolla’s nostalgic tune unfolds in a slow milonga, a song genre of Uruguay and Argentina that was a forerunner of the tango.

La muerte del ángel (1962) belongs to the incidental music composed for Alberto Rodiguez Muñoz’s play El tango del ángel about an angel who heals the spirits of the unfortunate in Buenos Aires only to be killed in a knife fight. This tango is part of a series of “ángel” compositions from the late 1950s and early 1960s. It falls into three sections, beginning with an aggressive fugue. Piazzolla attributed his contrapuntal facility to his studies with Nadia Boulanger. In the slow middle section, the cello introduces an expressive, lyrical theme that is passed to the rest of the trio. When the fugue theme returns, it is doubled fortissimo by violin and cello over chordal piano accompaniment.

Oblivion and La muerte del ángel were arranged for piano trio by José Bra-gato (b. 1915), the cellist in several of Piazzolla’s ensembles, including Octeto Buenos Aires.http://edmontonchambermusic.org/oldsite/PDF/2009Solstice_Notes2009June19.pdf

Danse Bacchanale (from Samson and Delilah) | Camille Saint-Saëns

The prolific Camille Saint-Saëns might well be considered the Professor Emeritus of French music. Over the span of eight and a half decades, he composed over three hundred works in a huge range of genres, performed in hundreds of concerts as pianist and organist, taught countless pupils, championed new composers, helped revive the works of Bach and Handel (composers he adored), and was known in every corner of the music world. Berlioz, a close friend, quipped famously, Il sait tout, mais il manque d’inexpérience (“He knows everything, but lacks inexperience”).

Of his hundreds of compositions, his orchestral works, his masterpiece opera Samson and Delilah, and his concerti are the most popular. His beloved

Symphony No. 3 (“Organ”) may have been his favorite child, but his bete noire quickly became The Carnival of the Animals. That this was his best-known work gave Saint-Saëns no end of disgruntlement. Composed in a few days during a trip to South America, he actually banned its public performance for many years (save for the lovely “Swan” movement) knowing instinctively that this humorous piece of musical fluff, created as a gag to please his inner-circle of friends, would become his albatross.

Saint-Saëns was not displeased, however, over the popularity of his opera Samson and Delilah (1877). Just as the opera has been in the opera hall, equally cherished in the concert hall is its Bacchanale from Act III. A scene of wanton jubilance, the Philistines are celebrating the fallen hero in the Temple of Dagon, Samson’s shorn hair laid at the altar. And just as Saint-Saëns said that music falls from his pen like apples, the memorable, exotic sounding themes in this dance are prolific. The final dance is breathtakingly powerful.

Flourish for Wind Band (1939) | Ralph Vaughn Williams Duration: 2:00

This Flourish is not to be confused with three others in Vaughan Williams’ output: Flourish, for chorus and orchestra (also known as Flourish for a Coronation, 1937), Flourish for Three Trumpets (1951) and Flourish for Glorious John (1957). This is the only one for wind band and is a rather obscure composition, not usually listed in musical reference works and even in books on the composer’s music. Lasting about a minute-and-a-half, Flourish for Wind Band was intended as an overture for a pageant and in the decade following its premiere was lost. In 1971 the score surfaced and was finally published. Moreover, it attracted the attention of composer/arranger Roy Douglas, who fashioned versions of the piece for orchestra and a different one for wind band.

The original by Vaughan Williams opens with a lively fanfare based on a four-note motive. Marked Maestoso, the music blazes in gaudy, brassy colors but then settles down midway through with the introduction of a serene, stately melody related to the opening motif and reminiscent of the alternate theme in the first movement of the composer’s Symphony No. 5, a composition he was then working on. In the end, this cannot be considered a major rediscovery, but neither can the piece be judged a failure. It is a delicious morsel, thematically and instrumentally recognizable in an instant as the work of Vaughan Williams.

- note by Robert Cumming

Arabesque (2008) | Samuel Hazo Duration: 6:00

Arabesque was commissioned by the Indiana Bandmasters Association and written for the 2008 Indiana All-State Band. Arabesque is based on the mystical

sounds of Middle Eastern music and it is composed in three parts, “taqasim” (tah’-zeem), “dabka” (dupp-keh), and “chorale.” The opening flute cadenza, although written out in notes, is meant to sound like an Arabic taqasim or improvisation. Much the same as in jazz improvisation, the soloist is to play freely in the scales and modes of the genre. In this case, the flute plays in bi-tonal harmonic minor scales, and even bends one note to capture the micro-tonality (quarter-tones) of the music from this part of the world. However, opposite to jazz, taqasim has very little change to the chordal or bass line accompaniment. It is almost always at the entrance to a piece of music and is meant to set the musical and emotional tone. The second section, a dabka, is a traditional Arabic line dance performed at celebrations, most often at weddings. It’s drumbeat, played by a dumbek or durbake hand drum, is unmistakable. Even though rhythmically simple, it is infectious in its ability to capture the toe-tapping attention of the listener. The final section, the chorale, is a recapitulation of previous mystical themes in the composition, interwoven with grandeur of a sparkling ending.

Both sets of my grandparents immigrated to the United States; my mother’s parents were Lebanese, my father’s mother was Lebanese and his father was Assyrian. Sometimes in composition, the song comes from the heart, sometimes from the mind, and sometimes (as in this case) it’s in your blood. The Indiana Bandmasters Assiociation asked for a piece that was unique. I had not heard any full-out Arabic pieces for wind orchestra, and I knew of this culture’s deep and rich musical properties... so I figured that one might as well come from me. (Plus, my mom asked if I was ever going to write one.) I hope you enjoy Arabesque.

- note by the composer

Elegy for a Young American (1964) | Ronald Lo Presti Duration: 7:00

Ronald Lo Presti, clarinetist and composer, was born in 1933 in Williamstown, Massachusetts. After graduating from the Eastman School of Music he received many grants from the Ford Foundation and has also served as the Composer-in-Residence for the Ford Foundation. Lo Presti has taught at Texas Technical University, Indiana State College, and Arizona State University. His most popular work is Elegy for a Young American, but he has also composed A Festive Music; Introduction, Chorale, and Jubilee; Pagaent Overture; Suite for Winds; Tribute; and Tundra.

Elegy For a Young American was written in 1964 and is dedicated to the memory of President John F. Kennedy. The many stages of mourning can be felt as the work unfolds. A quiet adagio sets a tone of respect and solemnity in the beginning. Feelings of shock and denial are reflected by the dynamics and octave jumps in the melody. Anger and remorse express themselves, but

personnel

they are replaced with a resolution of the loss and an allegro celebration of the contributions of this great American. The maestoso closing reminds us again of our loss.

http://www.windband.org

Fortress (1988) | Frank Ticheli Duration: 6:00

Fortress was composed in 1988 and received its premiere performance by the Batawagama Youth Camp Band in Iron County, Michigan, Donald Schleicher, conductor, on June 25, 1988. In the work, the tritone is the most important harmonic interval throughout. Alteration between major triads a tritone apart occurs throughout the piece. Additionally, there are three important motives that recur throughout the work, each receiving emphasis at different times. The main idea, a dotted eighth note followed by a sixteenth note rhythm, returns often and is passed around to differing sections. The call motif, a triplet figure followed by a half note, utilizes the tritone at the end of the figure. And the legato theme, which combines slurred patterns and a wide contrasting dynamic shape, occurring over a four-measure phrase.

- note taken from score

KENNESAW STATE UNIVERSITY PHILHARMONIC

VIOLIN IZoe Cesar, AcworthReid Hardy, Powder SpringsRachel Hightower, LawrencevilleJoy Murphy, AlbanyJacqueline Nguyen, MariettaSusan Reyes, Kennesaw +Chelsea Stacks, Bloomfield Hills, MIJordan Swanson, Stone Mountain

VIOLIN IIJackson Brischler, FayettevilleNicole Brooks, LawrencevilleQueenetta-Tye Clark, Brooklyn, NYAnna Deeb, RoswellJulie Donn, Woodstock

Christopher Glosson, MariettaRachel Gordon, MariettaPerry Morris, Powder Springs

VIOLAAmanda Cao, SnellvilleMatthew Richards, AlpharettaMarisa Yates, Kennesaw

CELLODaneel Bennett, MariettaKathryn Encisco, MariettaAmy Holmes, Marietta

DOUBLE BASSWesley Thompson, Marietta

KENNESAW STATE UNIVERSITY CONCERT BAND

PICCOLO / FLUTECourtney Zhorela, Sharpsburg

FLUTEJazmin Anderson, Warner RobinsHannah Culp, CartersvilleJames Down, RoswellMo-Shari Ellefson, CartersvilleNilia Ford, MariettaAmanda Green, AcworthCourtney Hamilton, KennesawMia Jordan, KennesawSara Knapp, McDonough*Amanda Macon, Winnsboro, SCJessica Marques, CummingAja Miller, Warner RobinsJulia Miller, KennesawMadison Palmer, DaltonBrandy Palmer, Auburn, ALMaria Phillips, Saint Marys Kaelyn Putnam, KennesawNatalie Rovetto, AcworthStella Vera, Arecibo, Puerto Rico

OBOECharley Baer, Roswell

CLARINETElizabeth Blackhall, CartersvilleBriana Blanchard, MariettaPaige Camilli, SuwaneeJacqueline Crone, AlpharettaJenny Free, Georgetown, SC*Kyle Green, EuharleeSierra Harris, StockbridgeAdjoa Johnson, KennesawJason Kaplan, Alpharetta

Levi Lyman, KennesawSharlande Nicolas, Boston, MAKylah Pollard, AcworthEleanor Stevenback, Troy, MI

BASS CLARINETTyler Johnson, ValdostaAshley Morrison, Kennesaw

BASSOON*Madelyne Watkins, Decatur

ALTO SAXOPHONENyjiria Guider, Milwaukee, WIJane Hedenstrom, Cumming*Noah Holcombe, Peachtree City Henry Larsen, ColumbusBrittany Normile, Boston, MAKristina Phillips, Saint MarysFaith Williams, Decatur

TENOR SAXOPHONEBrookes Gafeney, MariettaZachary Mathis, Cartersville

BARI SAXOPHONECheylin Dutra, Gainesville

HORNSean Brinkley Jr., DecaturMegan Gifford, WoodstockJames Griffie, NewnanCiera Hudson, Blue Ridge*Connor Osburn, KennesawRachel Pendergrass, NorcrossJessica Vega, San German

TRUMPETChase Bradt, Kennesaw*Patrick Collins, CummingJonny Fallin, CairoColby Geil, SuwaneePablo Gonzalez, KennesawAlicia Jones, Kennesaw*Michael Lewis, ColumbusPeyton Murdock, Powder SpringsJessica Terry, SavannahBrandt Winters, Social CircleEric Young, Marietta

TROMBONEElliot Folds, LawrencvilleAustin Franklin, AcworthSarah Norman, CartersvilleLaura Walker, Lawrenceville*Devin Witt, Douglasville

EUPHONIUM*Kristopher Davis, KennesawAnnaliese Gecowets, WoodstockTrevor Jesko, MariettaBrandon Lennon, Atlanta

Louis Livingston, KennesawZach Pate, ColumbusMason Upshaw, Kennesaw

TUBABranden Bonner, Powder SpringsDaniel Jacobs, MariettaDaniel McNabb, Rossville*Andrew Pellom, Dalton

PERCUSSIONMichael Anton, AlpharettaMichael Berry, CummingJonathan Bowers, Lilburn*Sydney Hunter, MariettaStephen Jones, AlpharettaPauly Lalvani, AlpharettaBrian Michienzi, AdairsvilleJustin Moon, KennesawElijah Pierre, Powder SpringsNicole Sbashnig, Hackettstown, NJCali Sprick, RoswellAlayna Tichenor, Dallas

*Principal Chair

Assistant Professor of Music Education

Charles Laux is Assistant Professor of String Music Education at Kennesaw State University where his duties include teaching courses in string techniques and pedagogy, instrumental methods, and music education

technology. Additional responsibilities include serving as conductor for the KSU Philharmonic, and as director of the KSU Summer Music Intensive and the KSU String Project. In addition he is a Ph.D. candidate in music education at The Ohio State University, conductor of the Georgia Symphony Youth Camerata Orchestra, and an Essential Elements clinician, consultant, and contributor for the Hal Leonard Corporation.

biographies

With 16 years of public school teaching experience, Mr. Laux directed orchestras in the Hilliard City Schools (Ohio), the Orange County (Florida) Public Schools and the Clark County School District, centered in Las Vegas. Under his direction, the Winter Park High School Philharmonic Orchestra was chosen to perform at the 60th annual Midwest Band and Orchestra Clinic. He has also taught courses at The Ohio State University, the College of Southern Nevada, Valencia College, and the University of Nevada, Las Vegas.

Mr. Laux has presented educational sessions for the Midwest Clinic, American String Teachers Association, Technology Institute for Music Education, Association for Technology in Music Instruction, and state music educator conferences in nine states. His performing experience includes several seasons with the Las Vegas Philharmonic, performances with the Nevada Chamber Symphony, and many freelance performances on violin and viola. Mr. Laux has conducted several regional and festival orchestras including the 2012 New Mexico All State Concert Orchestra and the 2013 GMEA Statewide Honor Orchestra. He is D’Addario endorsed educator/clinician and remains in frequent demand across the nation as an orchestra clinician, conductor, adjudicator and presenter.

Associate Director of Bands | Director of Athletic Bands

Debra Traficante serves as Kennesaw State University’s Associate Director of Bands/Director of Athletic Bands. In this position, Dr. Traficante will guide and direct all aspects of the KSU Marching Band, “The Marching

Owls,” to be premiered in the Fall 2015, as well as the KSU Basketball Pep Band. Professor Traficante also serves as the Conductor of the KSU Concert Band, teaches beginning instrumental conducting, wind band literature, and marching band technique courses, while also advising Music Education students.Dr. Traficante formerly served as Assistant Professor of Music/Assistant Director of University Bands at the University of Oklahoma where she conducted the Sym-phony Band, directed the “Pride of Oklahoma” Marching Band, taught conducting

lessons to graduate and undergraduate students, taught graduate wind literature courses, served as the lead teacher for the undergraduate conducting and meth-ods course, and oversaw music education students. She also served as the School of Music: Music Minor advisor, Honors College Music Co-ordinator, faculty sponsor for Sigma Alpha Iota, and faculty sponsor for the Delta Chapters of Kappa Kappa Psi and Tau Beta Sigma.Professor Traficante earned her Bachelor of Music in Music Educa-tion, cum laude, from the University of Florida (Gainesville, FL), a Mas-ter of Music degree in Wind Band Conducting from the University of Florida, and earned a Fellowship to pursue a Doctor of Musical Arts in Wind Band Conducting degree from the University of Oklahoma (Nor-man, OK). She served as Director of Bands for five years at New Smyrna Beach High School, Florida and Assistant Director of Bands for two years at Buchholz High School, Florida.Dr. Traficante frequently judges, guest conducts, and clinics ensembles across the United States, and has conducted at the International World Association for Sym-phonic Bands and Ensembles Conference in Singapore in 2005.Professor Traficante is the immediate past National Vice President of Professional Relations for Tau Beta Sigma, and an Honorary Member of the Delta Chapters, Al-pha Eta Chapter, and Beta Xi Chapter of the Kappa Kappa Psi National Band Fra-ternity and Tau Beta Sigma National Band Sorority. Additionally, she was honored in 2010 as a Distinguished Member in Sigma Alpha Iota and has been awarded the Martha Starke Memorial Scholarship for Women Conductors.

Ryan Gregory, violin

Ryan Gregory's musical craft, through deep engagement with a musical world of wide scope, is informed by rich collaborative experiences and perspectives. Inspired by the eclecticism of the independent music scene

in Atlanta, he has performed and recorded with such acts as Little Tybee, Book Club, Spirits and the Melchizedek Children, and Book of Colors, and with Creative Loafings’ ‘Improvisor of the Year,’ Eric Fontaine. He has also collaborated with the contemporary dance ensemble, GloATL.

An alumnus of the Atlanta Symphony Youth Orchestra, one of Ryan’s formative experiences was performing Shostakovich’s Fifth Symphony side-by-side with the Atlanta Symphony Orchestra, conducted by Robert Spano. Ryan also participated in a chamber music masterclass with Robert Spano. In 2014, Ryan received a scholarship to attend the Miami Summer Music Festival in its inaugural year where he played under the baton of Grzegorz Nowak, Principal Associate Conductor of the Royal Philharmonic. He has played in the Georgia Symphony Orchestra and the South Florida Sym-phony. Recent performances as concertmaster have included Mahler's Das Lied von der Erde and Mason Bates' Alternative Energy.

He has twice been a finalist in Kennesaw State University's Concerto Competition. Upcom-ing performances as a featured soloist include a recital per-formance with soprano Jana Young and Astor Piazzolla's Oblivion with the Kennesaw State University Philharmonic.

His primary teachers have been Juan Ramirez, Oliver Steiner and Helen Kim. His coaches and mentors also include Kenn Wagner, Catherine Lynn, Allyson Fleck and Michael Alexander.

The connection he shares with others through teaching is of paramount impor-tance to Ryan. He has led small classes of children in violin, piano, guitar and percussion; conducted sing-a-longs with infants and their caretakers; instructed elementary school students in ear-training and rhythm skills; and performed cham-ber music for orchestra classes in Cobb County Schools. He currently teaches foundations of violin technique privately and coaches string quartets under the auspices of the Georgia Youth Symphony Orchestra.

Ryan is also a member of the Klimt Duo, along with harpist, Tyler Hartley.

Music EducationJudith BealeJanet BonerKathleen CreasyJohn CulvahouseCharles JacksonCharles LauxAlison MannAngela McKeeRichard McKeeHarry PriceTerri TalleyAmber Weldon-Stephens

Music History & AppreciationDrew DolanEdward EanesKayleen JustusDane Philipsen

Music Theory, Composition& TechnologyJudith ColeKelly FrancisJennifer Mitchell Laurence SherrBenjamin WadsworthJeff Yunek

WoodwindsRobert Cronin, FluteTodd Skitch, Flute Christina Smith, Flute Elizabeth Koch Tiscione, Oboe John Warren, Clarinet, Chamber Music Laura Najarian, Bassoon Sam Skelton, Saxophone

Brass and Percussion Doug Lindsey, Trumpet, Chamber MusicMike Tiscione, TrumpetJason Eklund, HornThomas Witte, HornTom Gibson, TromboneBrian Hecht, Bass Trombone Bernard Flythe, Tuba/EuphoniumJohn Lawless, Percussion

StringsHelen Kim, Violin Kenn Wagner, ViolinCatherine Lynn, Viola Allyson Fleck, Viola, Chamber Music Charae Krueger, CelloJames Barket, Double Bass Joseph McFadden, Double BassElisabeth Remy Johnson, Harp Mary Akerman, Classical Guitar

VoiceJessica JonesEileen MoremenOral MosesLeah PartridgeValerie WaltersJana Young

PianoJudith Cole, Collaborative Piano & Musical TheatreJulie CoucheronRobert HenryJohn Marsh, Class PianoDavid WatkinsSoohyun Yun

JazzJustin Chesarek, Jazz PercussionWes Funderburk, Jazz Trombone, Jazz EnsemblesTyrone Jackson, Jazz PianoMarc Miller, Jazz BassSam Skelton, Jazz EnsemblesLester Walker, Jazz TrumpetTrey Wright, Jazz Guitar, Jazz Combos

Ensembles & ConductorsLeslie J. Blackwell, Choral ActivitiesAlison Mann, Choral ActivitiesOral Moses, Gospel ChoirEileen Moremen, OperaMichael Alexander, OrchestrasCharles Laux, OrchestrasDebra Traficante, Concert BandDavid T. Kehler, Wind Ensemble

School of Music StaffJulia Becker, Administrative Specialist IIIDavid Daly, Director of Programming and FacilitiesSusan M. Grant Robinson, Associate Director for AdministrationJoseph Greenway, Technical DirectorDan Hesketh, Digital Media SpecialistJune Mauser, Administrative Associate IIAndrew Solomonson, Facility Operations Manager

Ensembles in ResidenceAtlanta Percussion TrioFaculty Jazz ParliamentGeorgia Youth Symphony Orchestra and ChorusKSU Faculty Chamber PlayersKSU Faculty String TrioKSU Community and Alumni Choir

School of Music Faculty and Staff

We welcome all guests with special needs and offer the following services: easy access, companion seating locations, accessible restrooms, and assisted listening devices. Please contact a patron services representative at 470-578-6650 to request services.

Monday, March 2Summit Piano Trio

Wednesday, March 4Faculty Recital: Judy Cole, piano

Monday, March 9Atlanta Chamber Players

Wednesday, March 11Symphony Orchestra

Thursday, March 12University Chorale and Women’s Choir

Tuesday, March 17Chamber Singers and Men’s Ensemble

Unless otherwise noted, all events are held in Morgan Concert Hall and begin at 8 p.m.

upcoming events

The School of Music at KSU has dedicated, vibrant, and talented faculty and staff that are completely devoted to teaching, performing, scholarship, and serving our community. It is an incredibly exciting place to study, boasting state-of-the-art facilities with opportunities to produce and explore music in a dynamic place that is ahead of the curve for what it means to be a musician in the 21st century. Our students come from the leading musical honor organizations across the region and are poised to lead the cultural offerings and musical education in our area and beyond for years to come. We welcome you to attend a concert, meet our faculty and staff, and feel the energy and excitement that our students exude. We are fully committed to our purpose as educators, performers, and scholars. We hope that you will find as much enjoyment in our product as we do in producing it.

Michael AlexanderInterim Director, KSU School of Music

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